The New York Ripper - No Ordinary Headshot

Headshots have become so cliché, there I said it. Why does every headshot have to be in the middle of the forehead as if every shooter in the movies is a skilled marksman? And now with visual effects, all you need Adobe After Effects and a couple clicks of the mouse. Sure, it's still entertaining as hell, but where's the realism? Give me Martin Scorsese's headshot in Taxi Driver over the headshots in The Departed any day of the week. Take this scene from Lucio Fulci's The New York Ripper for example of how it's done right, a headshot that would make Dario Argento jealous.

The Beyond - The Eyeball King

There's a reason Lucio Fulci was dubbed the "eyeball gag" king. Here are two of those reasons.

Demonia - Human Wishbone

The standout scene in Lucio Fulci's Demonia involves a man split in two by tree branches. A standout effect in the movie if you can make it through the whole thing, not one of Fulci's best.
SKIP TO 1:20 FOR THE SCENE

City of the Living Dead - Drill Scene

When dad finds out his precious little girl is smoking a fatty with Bob, he grabs his head and proceeds to bore his dome with a massive drill; all done in the slow and agonizing way that Lucio Fulci does best.

C.O.D. - Drill through the head

Victim - Bob (Giovanni Lombardo Radice)

Assailant - John-John Robbins (Luca Paisner)

Famous Last Words - "I can explain Mr. Robbins" --Bob